Time-Lapse Photography Art and Techniques by Mark Higgins

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The exposure triangle is the most important factor to understand as an imagemaker. By understanding how to use the triangle we take control of the way our images look by changing the three elements. To take control of exposure, and get the images desired, we will need to learn how to change the shutter speed, aperture and ISO, and how to use them efficiently in different lighting situations. There are four modes on the camera that will give us different amounts of control of the triangle’s balance. On some cameras these modes are M, A, S and P. On others the equivalent modes are M, Av, Tv and P. Advanced cameras by any brands should have similar annotations, if not the same. If you are unsure where these are located just check your manual. Mobile phones and tablets will generally not offer these modes, but they might be available on an advanced compact camera. Ideally it is best to use a DSLR camera because they will have the four modes that we are looking at. If you fully understand the exposure triangle and how to control it i.e. what mode to choose at any given time, then you will take full control over how your imagery looks.
This image has the correct exposure, which means it closely represents what the subject would have looked like when the time-lapse was captured. Here we see an underexposed image. The picture is much darker than it would have looked at the time of capture. This darker effect is also referred to as ‘low key’ and is actually a very popular style of image-making.
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Time-Lapse Photography Art and Tech
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First published in 2016 by The Crow
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This image is an example of what ca
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Getting started At the beginning yo
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This diagram represents the passing
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These individual still photographs
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COMMUNICATING WITH TIME-LAPSE One o
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Scenes like this will give subtle m
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• What inspires you about your su
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ALWAYS LOOK AROUND BEFORE SHOOTING
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When capturing fast-moving subject
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An area that is very close to time-
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These are still images taken from a
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Chapter 2 Time-lapse basics In this
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This example shows how the pixel di
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This example shows Full HD video re
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The format for video is more of a l
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DIFFERENT WAYS TO CAPTURE TIME-LAPS
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when looking at these options to ch
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This sequence of images is from a t
Page 44 and 45: This comparison shows how you can e
Page 46 and 47: TIME-LAPSE TO VIDEO IN CAMERA If yo
Page 48 and 49: Advantages Phones and tablets are g
Page 50 and 51: Compact cameras are very advanced a
Page 52 and 53: This camera is a fully fledged top-
Page 54 and 55: Remote triggers When we take an ima
Page 56 and 57: drive and not a memory card in the
Page 58 and 59: software that comes free with the c
Page 60 and 61: 24mm.
Page 62 and 63: 80mm.
Page 64 and 65: 500mm. Focal lengths between around
Page 66 and 67: This time lapse sequence was shot w
Page 68 and 69: Using harsh shadows in your frame w
Page 70 and 71: LEARN FROM YOUR SHOOTING DATA Look
Page 72 and 73: uying one. Manuals for any lens or
Page 74 and 75: Using a fisheye lens will always be
Page 76 and 77: Here we see a tilt and shift lens b
Page 78 and 79: This is the same view but the persp
Page 80 and 81: concentrating on the technical side
Page 82 and 83: where the sun is going to be at any
Page 84 and 85: when in a rush this is easy to forg
Page 86 and 87: Chapter 4 Light and exposure In thi
Page 88 and 89: This frame from a time-lapse shows
Page 90 and 91: camera’s settings. If we use man-
Page 92 and 93: During the day we tend to get natur
Page 96 and 97: This scene is overexposed. This ima
Page 98 and 99: the decision based on the light tha
Page 100 and 101: This image was captured at 1/200th
Page 102 and 103: This chart shows that changing the
Page 104 and 105: Taken at ƒ/8 this image shows the
Page 106 and 107: A very wide aperture of ƒ/1.4 has
Page 108 and 109: • Distance between the camera and
Page 110 and 111: In conditions where there are low l
Page 112 and 113: This section of the image shows how
Page 114 and 115: This neutral density filter screws
Page 116 and 117: These stills are from a video clip
Page 118 and 119: Your camera’s metering system Und
Page 120 and 121: of middle greys, and in theory the
Page 122 and 123: Here the histogram is seen next to
Page 124 and 125: Always check your manual to find th
Page 126 and 127: These images are taken at two stops
Page 128 and 129: To capture the separate images when
Page 130 and 131: Chapter 5 Setting up your camera fo
Page 132 and 133: This image shows a much better appr
Page 134 and 135: Live-view focusing can be much more
Page 136 and 137: Most DSLR cameras have a button to
Page 138 and 139: If you want a different point of vi
Page 140 and 141: Chapter 6 Colour and composition In
Page 142 and 143: change between settings whilst in l
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A fluorescent white balance produce
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values to choose from, such as 3000
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The ‘correct’ white balance can
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during the day we usually have a ne
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The ‘golden hour’ is a time of
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This time-lapse shows how the colou
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When you have the choice of colour
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This image has high contrast and sa
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Your box of compositional tools Eve
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When the horizon is at the bottom i
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Strong verticals can be quite a sta
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In this image we have different lay
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When using reflections in your imag
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Depth of field can be used to simpl
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This image is strong because of the
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subject. This can take away from th
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A different look that also uses bok
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Chapter 7 Planning and shooting tim
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emember that photography is about l
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This time-lapse video was taken fro
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so, the camera did a great job. The
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photography. Larger motorways tend
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A DSLR camera mounted on a pocket t
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Aperture To get a wide depth of fie
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Time-lapse settings The camera was
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had a 24mm ƒ/1.8 prime lens attach
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Shutter speed A shutter speed of 1/
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Always revisit locations on a diffe
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Chapter 8 Film-making and editing f
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Overshot Undershot Point of view Ca
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The long shot can be very similar t
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A half shot is usually framed from
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An extreme close-up enables you to
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This approach is more of a wild car
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The point of view shot is not often
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lens in and out might mean that you
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This image has the contrast turned
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This image has the saturation turne
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This image shows the same frame wit
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If you record audio for your time-l
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This directional microphone has a v
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you want. MUSIC Making your own mus
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Credits are easy to create even wit
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Chapter 9 Sharing and storing your
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page dedicated to showing their wor
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Sometimes, even with all the enthus
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cleaning your equipment 53-55 colou
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L length of your video 128 lenses 5
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T taking yourself out of ‘auto’
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Time-Lapse Photography Art and Techniques by Mark Higgins

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